Situated at the interface of philosophy, aesthetics, and art history, this collection brings together a series of creative responses to the recent speculative turn in Continental philosophy. It gives
The rise of populism, cynicism, fanaticism and fundamentalism challenges us to reconsider the problem of ressentiment. It was characterized by Nietzsche as the self-poisoning of the will through inter
Examining afresh the 16th-century style of mannerism, Sjoerd van Tuinen synthesises philosophy and aesthetics to demonstrate not only the contemporary relevance of mannerism but its broader significance as a form of modal thinking. Beyond a style of art that spurned the balance and proportion of earlier Renaissance painting in favour of compositional instability and tension, this book looks a-historically at mannerism to investigate what it can tell us about continental modal metaphysics, focusing in particular on its artificial and what Van Tuinen calls ‘secondary’ nature. In three main parts, Van Tuinen first explores the ontology, aesthetics and ethics of mannerism. He then develops this through an extended study of Leibniz as a modal and indeed mannerist philosopher, before outlining in the final part a (neo)-mannerist aesthetics that incorporates diagrammatics, alchemy and contemporary technologies of speculative design. Drawing on Bergson
Situated at the interface of philosophy, aesthetics, and art history, this collection brings together a series of creative responses to the recent speculative turn in Continental philosophy. It gives
Though Gilles Deleuze and Felix Guattari were not strictly art historians, they reinvigorated ontological and formal approaches to art, and simultaneously borrowed art historical concepts for their ow
